However, of the human characters in this portrait gallery, only two seem to be posing for a portrait. One is a young man, arms folded over a number that identifies him as a participant in a sporting event, probably a popular race.
It is only in his studio for many hours a day that Miguel Macaya paints self-absorbed men who sometimes seem to come out of their own self-absorption to look the other way, with a look of suspicion or contained fear, as if they have just discovered that someone is watching them and they try to remain calm or avoid danger by pretending that they have not noticed the presence of the intruder.
There's a place where everything happens, in Miguel Macaya's painting. A place where we all look and from which we are looked at. A place where men pose, where dogs pose, where men and dogs surrender to the motionless fact of being represented by that staging of sudden memory we call painting. And that's posing.
There is, since Goya, a painting made of darkness. In other words, the painting of light that refers to the night, as there is - since Francis Bacon - a painted form that is applied to represent that which has no form. Continue reading
Miguel Macaya's paintings are an explosion of shadow and a play of lights. The shadow multiplies and settles in the profiles of the bodies, while highlighting their shapes and accentuating their volumes.
It is obvious, and it has been said on numerous occasions, what is the spiritual filiation of Miguel Macaya's paintings. Baroque tenebrists, of course, but also Rembrandt, which one remembers before the image of a bovine in profile.
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